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One of the most impactful things a work can do is give visibility to an erased, hidden or forgotten figure, and do so with dignity and humanity. A collaboration between composer Damien Geter and librettist Lila Palmer, American Apollo’s world premier at Des Moines Metro Opera, did precisely that.

Set at the turn of the century in Boston, renowned painter John Singer Sargent asks a black elevator attendant, Thomas Eugene McKeller, to be his model. Though the exact nature of their relationship is unknown, Palmer explains ‘When there is a gap, any dramatist says ‘what if’ and reaches through the mist.’ American Apollo has used this historic partnership to tell a nuanced story of love, power and agency. Professionally, Sargent uses McKeller’s body, erasing his race and face. Personally, a romantic relationship develops between them.  

Mary Dunleavy as Isabella Stewart Gardner in American Apollo at Des Moines Metro Opera | Photo credit: Cory Weaver

Geter’s orchestration creates a kaleidoscopic ‘American Impressionism’, with borrowings from other genres of the time, creating a diverse palate to accommodate the vivid characters. The vulnerability between McKeller (Justin Austin) and Singer (William Burden) was drawn out through motifs, a ‘looking chord’ for when McKeller is seen, and surging ‘painting music’ when they creatively collaborate. The audience is guided to bear witness to their developing bond in an intimate set design by Steven C. Kemp, full of Singer’s work and mythological iconography. Though rich with visuals, it does not deter from the curious electricity between Austin and Burden. Both approached their characters with earnestness, Austin’s vibrant tone spun engagingly throughout, as powerful in his moments of quiet confusion as he was in his conflict and devastation. Equally sincere, Burden gave Singer the full gamut of human traits, carrying his robust tenor voice confidently throughout his character’s despair, confusion and optimism.

Mary Dunleavy as eccentric art collector Isabella Stewart Gardner was no mere comic relief as an older somewhat meddlesome woman - Dunleavy used her portrayal as a testament to the importance of art and beauty, and sung, shimmeringly, with a crystal clear top.

Justin Austin as Thomas Eugene McKeller and William Burden as John Singer Sargent in American Apollo at Des Moines Metro Opera | Photo credit: Cory Weaver

As the opera transitioned into the war years the longing of the melodic lines are punctuated by a percussive drive under the glistening tones - at times tender, at times brutal, led expressively by David Neely. It fearlessly dug into the reality of fetishisation, the way black lives are treated as disposable and the complexities of relationships along the lines of race, age and class. Palmer expertly shows rather than tells, after the scorned rage of Nicole D’Inverno, explosively sung with a striking voice by Alex McKissick, we are outraged by Sargent, then opening our hearts to him when he prays for McKeller to simply hold him, as they believably fall into one another’s comfort again.

The drama is driven by Sargent and McKeller being separated by misunderstanding, then war, then when McKeller slips out of the frame as a crowd fawns over Sargent, powerfully staged by Shaun Patrick Tubbs. As subtle as this exit is, the finale is triumphant, where McKeller meets himself - as a portrait, the only uncommissioned nude Sargent painted.

Austin fully embodies McKeller’s agency as an undeniably vital role in art’s history, and powerfully recognises the eternity of not just his body, but himself.

A theme throughout is that even in a warring world, beauty is a need - this work is testament to that, that art should challenge us, give us a clearer view of the world around us, and is absolutely necessary.

Until July 19.